Take Away the Supernatural and What Remains Is the Unnatural": Power, Secularization, and G.K

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Take Away the Supernatural and What Remains Is the Unnatural Inklings Forever: Published Colloquium Proceedings 1997-2016 Volume 8 A Collection of Essays Presented at the Joint Meeting of The Eighth Frances White Ewbank Colloquium on C.S. Lewis & Friends Article 14 and The C.S. Lewis & The Inklings Society Conference 5-31-2012 "Take Away the Supernatural and What Remains is the Unnatural": Power, Secularization, and G.K. Chesterton's Villains J. Cameron Moore Baylor University Follow this and additional works at: https://pillars.taylor.edu/inklings_forever Part of the English Language and Literature Commons, History Commons, Philosophy Commons, and the Religion Commons Recommended Citation Moore, J. Cameron (2012) ""Take Away the Supernatural and What Remains is the Unnatural": Power, Secularization, and G.K. Chesterton's Villains," Inklings Forever: Published Colloquium Proceedings 1997-2016: Vol. 8 , Article 14. Available at: https://pillars.taylor.edu/inklings_forever/vol8/iss1/14 This Essay is brought to you for free and open access by the Center for the Study of C.S. Lewis & Friends at Pillars at Taylor University. It has been accepted for inclusion in Inklings Forever: Published Colloquium Proceedings 1997-2016 by an authorized editor of Pillars at Taylor University. For more information, please contact [email protected]. INKLINGS FOREVER, Volume VIII A Collection of Essays Presented at the Joint Meeting of The Eighth FRANCES WHITE EWBANK COLLOQUIUM ON C.S. LEWIS & FRIENDS and THE C.S. LEWIS AND THE INKLINGS SOCIETY CONFERENCE Taylor University 2012 Upland, Indiana “Take Away the Supernatural and What Remains is the Unnatural”: Power, Secularization, and G.K. Chesterton’s Villains J. Cameron Moore Baylor University Moore, J. Cameron. “Take Away the Supernatural and What Remains is the Unnatural: Power, Secularization, and G.K. Chesterton’s Villains.” Inklings Forever 8 (2012) www.taylor.edu/cslewis 1 “Take Away the Supernatural and What Remains is the Unnatural”: Power, Secularization, and G.K. Chesterton’s Villains J. Cameron Moore Baylor University In his 1905 book, Heretics, G.K. distortion and perversion, the unnatural. Chesterton claims that the spiritual is It is this negative denial that I want to inextricably linked to the whole of human focus on because it provides a helpful way life: “Take away the Nicene Creed and of reading many of Chesterton’s villains. similar things, and you do some strange Wielding a conception of power wrong to the sellers of sausages. Take which denies given limits, the malefactors away the strange beauty of the saints, and in many of Chesterton’s novels attempt to what has remained to us is the far re-create cultural spaces free from stranger ugliness of Wandsworth. Take traditional religious practices and beliefs, away the supernatural, and what remains and these projects always end in is the unnatural” (99). This is a unnatural suppressions of human theologically loaded statement. It freedom. Thus, in The Ball and the Cross demonstrates Chesterton’s intuitive sense the English society which will not allow of the gratuity of being and puts MacIan and Turnbull to argue about Chesterton in company with the nouvelle theology suffers Professor Lucifer to jail theologians. Rather than join the neo- innocent citizens. Likewise, in The Flying Thomist hypothesis of some state of pure Inn Lord Ivywood attempts to recreate nature which might have existed separate British society in his own image and in from the order of grace, Chesterton the process makes alcohol illegal and recognizes that through the Creation and begins to establish polygamy as an the Incarnation the supernatural both acceptable social practice. undergirds all of existence and provides Beyond creating cultural spaces the natural order with an end beyond which are inimical to human flourishing, itself. Taken positively, Chesterton’s in their denial of the supernatural claim about the supernatural and the Chesterton’s villains do violence to their unnatural means that the universe is own humanity. By the end of Manalive, bursting at the seams with the divine; Dr. Warner appears a walking corpse, humdrum objects such as lamp posts, whose long dead spirit cannot begin to pillar boxes, and coat tails can sweep the respond to the life which Innocent deals unsuspecting viewer up into an ecstatic out of his revolver. In The Flying Inn experience of transcendence in the blink Ivywood’s Nietzschean assertion of the of an eye. Indeed, Chesterton’s heroes are will drives him insane. His intention to constantly caught up in these bursts of make the world over again leads illumination. However, his claim is ultimately to his own imbecility. phrased as a warning. Any attempt to do Likewise, Professor Lucifer’s satanic away with or suppress the supernatural nature is clearly revealed at the end of leads not to the natural but rather to The Ball and the Cross, and in this he 2 ‘Take Away the Supernatural and What Remains is the Unnatural’ · J. Cameron Moore appears the prototypical Chesterton conviction grows that power simply antagonist. Full rejection of the demands its own actualization” (83). For supernatural is finally nothing more than Guardini this conception of power is an embrace of the demonic. finally demonic. Now, I want to organize this Particularly, Guardini argues that exploration into Chesterton’s villains in response to the kind of power wielded around Romano Guardini’s reflections by the modern world, culture itself has about modernity, power, and culture in become “non-cultural”. Under the grip of his seminal work The End of the Modern objectified power, culture will cease to World. Romano Guardini (1885-1968) provide security and instead will be was a German priest, theologian, marked primarily by “danger” (89). The philosopher, and social critic. If you threats to safety which previously arose haven’t read Guardini before, you might from the natural world now arise from think of him as a kind of European within culture itself through the Wendell Berry; he shares many of Berry’s unrestrained expansion of power. concerns regarding technology and power Nature now, however, has emerged as they bear upon questions of nature, once again into history from within culture, and what it means to be human. the very depths of culture itself. In published The End of the Modern World Nature is rising up in that very form in 1950, Guardini argues that power is at which subdued the wilderness—in the root of the dissolution of the modern the form of power itself. All the world. Modern man saw a radical growth abysses of primeval ages yawn in his ability to manipulate both himself before man, all the wild choking and the world, according to Guardini. growth of the long-dead forests This increase in power has led to radical press forward from this second redefinitions of man, nature, and culture. wilderness, all the monsters of the The modern world valued power as an desert wastes, all the horrors of the indicator of “progress;” man’s increasing darkness are once more upon man. control over himself and his environment He stands again before chaos, a signaled clear gains towards “security, chaos more dreadful than the first usefulness, welfare and vigor” (82). Yet, because most men go their own Guardini claims, power itself proved too complacent ways without seeing, strong for the goods towards which it was because scientifically-educated supposedly directed. Thus, the twentieth gentlemen everywhere deliver their century has seen an incredible speeches as always, because the development in “man’s power over machines are running on schedule being,” but this increase has not been and because the authorities accompanied by “the strong character function as usual. (92) needed for exercising this power” (82). We do not yet have “power over [our Guardini’s vision here seems at first to own] power” (90). Even more resonate more with Cormac McCarthy’s frightening, power, as it is currently dark visions of the world than with understood, justifies itself as an Chesterton’s jovial “beer and skittles” impersonal necessity. We have agreed to personality. However, society presents a a conception of power, defined as serious threat in much of Chesterton’s increasing technical control of ourselves fiction through its unrestricted exercise of and our world, as an unstoppable force power. In The Napoleon of Notting Hill independent of human will, and the whole of London turns out against the consequently outside the realm of human defenders of one small street. In The responsibility. In Guardini’s words “the Flying Inn Dalroy and Humphrey Pump 3 ‘Take Away the Supernatural and What Remains is the Unnatural’ · J. Cameron Moore are constantly on the run with their illegal agree to an understanding of power as pub sign. And in The Ball and the Cross impersonal necessity, Chesterton English society forces MacIan and provides villains who are clearly Turnbull to flee to various wild places in responsible for their abusive pursuit of order to conduct their duel. In each case, power and the current state of their culture itself proves dangerous. The societies. protagonists of each story struggle Chesterton’s antagonists certainly against a “civilized” order which is deadly subscribe to the modern definition of to the human spirit. This gives many of power as both necessarily progressive Chesterton’s novels something of a and unbounded by any limitations. Lord dystopian atmosphere. Ivywood from The Flying Inn However, unlike many dystopian demonstrates this conception of power novels, Chesterton provides both clear and its consequences most clearly, so I responsibility for the dystopian state of will focus on him primarily in the affairs and a program for resistance and argument that follows. The same case victory. The fact of culpability in could be made though, I think, for many of Chesterton’s fiction mirrors Guardini’s Chesterton’s other villains.
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